1928 Velocette 349cc Model KRegistration no. YX 7016Frame no. 2181Engine no. KCR2093Velocette's two-strokes had proved very popular, but by the early 1920s it had become apparent that a more upmarket model was required. Other manufacturers were fielding new overhead-valve and overhead-camshaft machines, and Veloce Ltd followed suit, the overhead-cam Model K first appearing in 1924. Of 348cc, the new engine employed a single overhead camshaft driven by vertical shaft, and was unusual in having a very narrow crankcase, an arrangement determined by the existing transmission and frame design, which made for a stiff crankshaft assembly. Entered in the 1925 Isle of Man TT, the new Model K did not fare well, all three entries retiring with lubrication problems. Its engine redesigned to incorporate dry-sump oiling, the 'cammy' Velo returned the following year to score a memorable victory, Alec Bennett romping home in the Junior race 10 minutes ahead of the second-place rider! This Model K Velocette comes with its original sales invoice issued on 18th August 1928 by Velocette's London agents L Stevens Ltd of Goldhawk Road, Shepherd's Bush to first owner Mr G J Stanford. Including electric lighting, the purchase price was £75 17s 1d when the UK average annual wage was around £100. Documentation on file includes two old-style buff logbooks and numerous receipts for parts relating to the Velo's full rebuild by the current owner, who purchased it in 2018. Offered with a V5C.Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingFor further information on this lot please visit Bonhams.com
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1952 BSA 123cc Bantam D1Registration no. HNR 682 (see text)Frame no. YD1S 81186Engine no. YDL 12053Developed from the pre-war DKW RT125 and announced in 1948, the Bantam became a top seller for BSA, in excess of half a million leaving the Birmingham factory before production ceased in 1971. Originally of 123cc, the engine grew first to 148cc and then to 172cc. Plunger rear suspension became available as an option in 1950, as did battery electrics powered by a 6-volt Lucas alternator, direct lighting having been relied upon hitherto. Many a mature motorcyclist will have learned to ride on a Bantam and the model remains a firm favourite to this day. Believed purchased by the vendor's father from the original owner, and not ridden for 50 years, this plunger-suspended Bantam is presented in outstandingly original 'time warp' condition, currently displaying a total of only 11,391 miles on the odometer. Offered for re-commissioning/restoration, the machine comes with keys but there are no documents present. 'HNR 682' is not listed in the HPI database; accordingly, prospective purchasers must satisfy themselves with regard to this motorcycle's registration status prior to bidding.Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingLot to be sold without reserve.For further information on this lot please visit Bonhams.com
From The Warr's Harley-Davidson Collection 1960 Harley-Davidson 883cc XLCH SportsterRegistration no. 772 YUXFrame no. to be advisedEngine no. 60XLCH2376'When Bruce Main-Smith of Motor Cycling tested an 883cc XLCH in 1959, claimed power was up to 47bhp. The off-road Competition twin – complete with high-level exhaust – turned Harley critics into Harley fans reported Main-Smith.' – The Classic Motor Cycle. The XLCH Sportster had first appeared in 1958 as the competition version of the XLH ('H' for high-compression) roadster, and as such was sold without either lighting or speedometer. Ignition was by magneto (there was no battery) and the 'silencers' were devoid of baffles, while the mudguards were shortened appropriately. For 1959 the XLCH was made road legal with lights, horn and speedometer, while at the same time receiving 'hotter' cams, a 2-into-1 high-level exhaust, and rubber-mounted handlebars. The XLCH was last catalogued in 1979 when only 141 were built.This machine has been built to a similar specification as Fred Warr's XLCH sprinter as used at the Ramsgate Sprint in May 1960 (see MCN press cutting on file). All parts needed to return the Harley to road trim are included should the next owner decide to do so. The machine is offered with a V5C Registration Certificate.Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingFor further information on this lot please visit Bonhams.com
A collection of x13 boxed Oxford Diecast 1/76 scale / railway scale Chipperfield's Circus models. Examples to include CH025 Loudspeaker, 109, CH029 Land Rover Series 1 109" Frame, CH010 Anglia Lighting Equipment, CH009 Candy Floss Van and others. Models appearing mint, with original boxes and outer sleeves.
A GILT METAL AND GLASS CHANDELIERIN THE MANNER OF MAISON BAGUES, OF RECENT MANUFACTURE75cm high, 72cm diameterCondition Report: Overall there are scuffs, marks and abrasions commensurate with use.The bronzed finish is mottled in appearance.There are some traces of dark stain to some parts of glass and there is dust - the glass parts could therefore benefit from being cleaned.On close inspection, the glass drip pans are missing some glass 'buttons' with void holes to some. Two of the 'candles' are missing the 'flame' light bulbs, one of the metal sconces and candles is unscrewed/broken so that it does not stand upright.This chandelier is sold for decorative purposes only and if used for lighting purposes should be checked, approved and fitted by a qualified and certified electrician.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A mid century teak low display unit with glass sliding doors, cupboards and 3 drawers. With integral wooden handles, baize lined cutlery drawer and interior lighting. Glass door cupboard has interior glass shelf, double door cupboard has interior wooden shelf. Approx. 126cm tall x 152cm long.
GAVIN SCOTT WEIR,PINEAPPLE I oil on canvas panel, signed, titled versoimage size 41cm x 31cm, overall size 44cm x 34cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.
GAVIN SCOTT WEIR,EXOTIC FRUITSoil on canvas panel, signed, titled versoimage size 23cm x 36cm, overall size 39cm x 41cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.
GAVIN SCOTT WEIR,FOUR PEARSoil on canvas panel, signed, titled versoimage size 30cm x 24cm, overall size 35cm x 29cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.
GAVIN SCOTT WEIR,BANANA I oil on canvas panel, signed, titled versoimage size 25cm x 31cm, overall size 28cm x 34cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.
GAVIN SCOTT WEIR,CITRUS Ioil on canvas panel, signed, titled versoimage size 20cm x 28cm, overall size 25cm x 34cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.
a chest of eighteen drawers with a curved body of teinted ash and painted wood, brushed steel on wheels; overall dimensions: 170.5 (h) x 45 (w) x 50 (d) cm (67 1/8 (h) x 17 3/4 (w) x 19 3/4 (d) in.), dimensions of drawers: 38.5 (l) x 37.5 (w) x 7 (d) cm (15 1/8 (l) x 14 3/4 (w) x 2 3/4 (d) in.), please note variant depths for the drawers, between 7 cm (2 3/4 in.) and 6 cm (2 3/8 in.)LITERATUREThe Work of Shiro Kuramata: 1967-1974 (Tokyo: Parco, 1988), pp. 45-47Shiro Kuramata 1934-1991 (Tokyo: Hara Museum of Contemporary Art, 1996), ex. cat., pp. 45, 48, 130David A. Hanks, Anne Hoy and Martin Eidelberg, Design for Living: Furniture and Lighting 1950-2000, The Liliane and David M. Stewart Collection (Montreal: Montreal Museum of Decorative Arts, 2000), ex. cat., pp. 128-29Shiro Kuramata and Ettore Sottsass (Tokyo: 21_21 Design Sight, 2011), ex. cat., pp. 30, 169Deyan Sudjic, Shiro Kuramata (New York: Phaidon Press, 2013), pp. 154, 255CONDITIONIn good condition. Minor scuffing and light surface scratches, consistent with use and age.
A Maison Jansen French Brass and Gilt Black Lacquer Coffee Table. Black lacquer panel with gilt chinoiserie floral and bird motif. Mid-20th century (of that period) coffee table with 18th-century Chinese gilt lacquer panel set within gilt-brass frame styled as bamboo with x-shaped stretcher intersecting in a ring. The exquisite gilded bronze mount frame is of the highest casting quality. Such exceptional condition of the panel is extremely rare. Ex Condylis Collection Dimensions 18 in (H) x 43 in (W) x 19 in (D) The world-famous Parisian company Maison Baguès has created lighting and furniture works famous all over the world and is now recognized as synonymous with elegance and refinement. Baguès was born in Auvergne around 1840 and specialized in bronze works. The society developed considerably at the end of the nineteenth century, with the advent of electricity, with objects for lighting.
A 19th century Russian silver and niello work vesta box, Assay master Nikolay Dubrovin, Moscow 1834, rectangular form, the hinged cover with a city scene, the base with figures, the interior with a hinged striker and hole for a lighting cord, length 6.3cm, approx. weight 2.2oz. Provenance: From The Collection of the late Piers Eric Norwood.
FRANCESC MIRALLES I GALAUP (Valencia, 1848 - Barcelona, 1901)."Jumping over a skipping rope".Oil on wood.Signed in the lower left corner.Size: 27 x 50 cm; 39 x 63 cm (frame).This painting is a magnificent example of Miralles's language, centred mainly on costumbrista themes of bourgeois life and the fin-de-siècle high society: a bourgeois costumbrista scene, captured with an elegant style and marked atmospheric sensitivity, with a descriptive brushstroke in the textures and loose in the backgrounds, expressive and exuberant. Thus, we see a refined treatment of the environment that surrounds him, of the bourgeoisie with whom he lives, in a work marked by the precious treatment of the material, the gracefulness of his drawing and the delicacy of his lighting.Francisco Miralles trained in Barcelona in the studio of Ramón Martí Alsina, where he was a fellow pupil of the members of the first generation of Catalan realists. Little remains of Miralles's output from this early period, although the dozen or so paintings we have tell us that he was a young painter who quickly learned to treat the figure with mastery, although he was not yet interested in landscape painting. Settled in Paris from the mid-1860s (around 1865-66), it is possible that he studied with Courbet on the advice of Martí Alsina, who also trained with the French master. Due to these influences, his youthful style, up to the late 1970s, is still vigorously realist. Later he evolved towards a style of feminine elegance, typically fin-de-siècle, with a Fortunyist-influenced technique. In Paris he popularised a refined style, centred mainly on costumbrist themes of bourgeois life and high society, mainly featuring female characters. In Paris Miralles lived a free and carefree life, at first depending financially on his family, and later supporting himself by his own means, thanks to the sales of his paintings through the most prominent dealer in Paris at the time, Goupil. At the same time, he took part in the Salon des Artistes Français between 1875 and 1896. He made several trips to Barcelona, and in fact exhibited from 1877 at the Sala Parés in that city. After several years spent between Paris and Barcelona, he returned to Barcelona for good in 1893. Francisco Miralles is represented in the MACBA, the Abbey of Montserrat and the Círculo del Liceo in Barcelona, as well as in important private collections.
Madrid School, last third of the 18th century."Immaculate Conception".Oil on canvas.Re-drawn. It presents repainting.Measurements: 192 x 124 cm; 207 x 144 cm (frame).Following autochthonous, Andalusian and Castilian baroque models, the painter of this Marian representation has composed a sublime break of glory, in which the Virgin victorious over evil crushes with her right foot the head of the serpent. The reptile, with an apple in its jaws, embodies temptation. The Virgin, light and monumental at the same time, thanks to the masterful chromatic and lighting work, is surrounded by angels arranged symmetrically around her: a court of seraphim and, at the top, two angels who are preparing to crown her. In this way the theme of the Coronation of the Virgin is added to the iconography of the Immaculate Conception. Below the serpent and the lunar representation, the orb is drawn beneath the bare feet, emphasising the glorious role of the Mother of God. The Madrid school, influenced by the Murillo school, nevertheless stamped its own personality on Marian iconography, as can be seen in this painting. The theme of the Immaculate Conception, which was very common in 17th-century Spanish art, became one of Spain's national symbols of identity as a Catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, as Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to disseminate the Immaculate Conception, bringing together symbolism and popular fervour.
Circle of DIEGO VELÁZQUEZ (Seville, 1599 - Madrid, 1660), first half of the 17th century."Tears of Saint Peter".Oil on canvas.Size: 106 x 84 cm; 115 x 93 cm (frame).Aesthetically the work shows a great compositional and stylistic influence related to Diego Velázquez, specifically with the painting of the Tears of St. Peter, which belongs to the Villar Mir Collection, Madrid. This model must have been very popular at the time, as there are several similar versions, such as the one by Herrera the Elder, which is in the collection of the Museum of Fine Arts in Seville. Devotional image of the tears of Saint Peter. The representation of Saint Peter acknowledging his guilt and imploring forgiveness for having denied Christ three times was used by the reformers of the Catholic Church to encourage personal repentance, the need for forgiveness and, consequently, the practice of the sacrament of penance. This iconographic theme was very common in the last decades of the 16th century. The saint is shown seated, wrapped in a blue cloak and draped tunic, with his gaze directed out of the frame, imploring forgiveness. The large keys, his principal attribute, symbol of the Kingdom of Heaven, rest on the ground. The mysterious presence of the small landscape in the background, almost as if observed through a window, could allude to the transition between day and night, light and darkness, as the saint embodies in the history of Christianity. The monumental canon of the figure, the naturalism of the depiction of the clothing and the baroque lighting that constructs the scene place the painting in 17th-century Spain.According to the New Testament, Saint Peter was a fisherman, known as one of Jesus' twelve apostles. The Catholic Church identifies him through the apostolic succession as the first Pope, based among other things on Jesus' words to him: "You are Peter, and on this rock I will build my Church, and the power of Death shall not prevail against it. I will give you the keys of the Kingdom of Heaven. Whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven". St. Peter could be said to have been Jesus' confessor, his closest disciple, the two being united by a very special bond, as recounted in both the canonical and apocryphal Gospels.The story of St. Peter's tears will be used by theologians and moralists of the Counter-Reformation as an element of rapprochement with the faithful, bringing the saint's weaknesses closer to mortal man, showing that even St. Peter can commit faults, and subsequently be forgiven.
Lincoln - Lincolnshire. A manuscript volume regarding tax rates for the improvement of the city of Lincoln, 1852, initial leaf states "A rate made levied and assessed by the Commissioners for putting into execution an Act of Parliament intituled: 'An Act for paving, lighting, watching and improving the city of Lincoln and the Bail and Close of Lincoln in the county of Lincoln and for regulating the Police therein' being a rate of eight pence in the pound for the year commencing the fifth day of August 1851 and ending on the fifth day of August 1852 - dated this sixth day of January 1852", with signatories beneath, with 119 leaves following comprising details displayed in columns listing persons, addresses, tax rates payable and payments made etc., sewing broken and all leaves loose (few leaves appear to be lacking), occasional closed tears, some dust-soiling and marks, endpapers with memorial cards and other cuttings attached, contemporary half sheep, lacking spine and boards detached, worn, folioQty: (1)
Murdoch (William, 1754-1839). Scottish engineer and inventor of lighting by gas. A scale model of William Murdoch’s 1784 steam carriage or road locomotive, the model with wooden frame, three 8-spoke wheels, the engine and boiler placed between the larger back wheels with a spirit lamp underneath to heat the water and a tiller at the front which turns the smaller front wheel, 48 cm long x 39 cm high, presented in a wood and glass display case with an ivorine maker's plaque stamped ‘E.T. Newton & Son Ltd, Mathematical Instrument Maker, Camborne England’, and a silver title plaque (detached) engraved 'Full Size Model Made by William Murdock 1781, at Redruth, Cornwall. Presented by George Tangye, Esq., Birmingham, 1912', case size 50 cm high x 59 cm wide x 29cm deep, together with a patinated plaster bust of William Murdoch (1754-1839) from the original by David Watson Stevenson, 1892, socle base, 34 cm high, plus a copy of John Griffiths' biography of Murdoch, The Third Man (1992), showing a photograph of the model after page 246, original cloth in dust jacket, 8voQty: (3)
ROBERT NATKIN (AMERICAN 1930-2010) UNTITLED (ABSTRACT), C.1950s Oil on canvas(100cm x 85cm (39.5in x 33.5in))Provenance: Purchased by the present owner from Robert Henry Adams Fine Art, Chicago Art Fair, Navy Pier, Chicago, USA 1990 Note: Robert Natkin was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist. Klee’s influence is evident in the rhythmic, structural forms of ‘Untitled (Abstract)’, which is understood to date to the 1950s. Natkin stated that during this period he was influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light. Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin professed to never having warmed to Pollock’s work, instead preferring Willem de Kooning, but above all remaining committed to European abstraction. His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form. Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.Footnote: Exhibited: Robert Henry Adams Fine Art, Chicago
ROBERT NATKIN (AMERICAN 1930-2010) STUDY FOR "1211 - MURAL", 1992 Signed and inscribed with title and dated lower edge, acrylic on board(29cm x 59cm (11.5in x 23.25in))Provenance: Gifted by the artist to the present ownerFootnote: Note: Robert Natkin was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist. Klee’s influence is evident in the rhythmic, structural forms of ‘Untitled (Abstract)’, which is understood to date to the 1950s. Natkin stated that during this period he was influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light. Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin professed to never having warmed to Pollock’s work, instead preferring Willem de Kooning, but above all remaining committed to European abstraction. His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form. Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.
EMPRESS OF BRITAIN; a large remote control model of the ship with built-in lighting, speakers, etc, supplied with two batteries, charger and remote control (lacking crystal), length approx 200cm. CONDITION REPORT Sold untested, appear to be complete with figures lifeboats and furniture, would require re-soldering
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